A brilliant show, with guests Emma Tricca and Cobalt Chapel. Jon ‘Mojo’ Mills and Thomas Patterson man the music, pose the questions and all have a grand time
WCPAEB into Soundcarriers ‘Harmonium’
Great Society ‘Free Advice’
Jefferson Airplane ‘Come Up The Years’
Oxford Circle ‘Foolish Woman’
The Mystery Trend ‘Johnny Was A Good Boy’
Stained Glass ‘A Scene In Between’
Neighb’rhood Children ‘Long Years In Space’
The Storybook ‘Pretty Song from Psych Out’
Blue Cheer ‘Out Of Focus’
Big Brother & The Holding Company ‘Oh Sweet Mary’
Kak ‘Everything’s Changing’
Moby Grape ‘Seeeing’
Joy Of Cooking ‘Did You Go Downtown’
Tripsichord Music Box ‘We Have Passed’
Janko Nilovic ‘Xenos Cosmos’
Zimpel/ Zolek ‘Elytra’
Emma Tricca & Cobalt Chapel ‘Winter My Dear’
Cobalt Chapel ‘Who Are The Strange (Variant)’
Cobalt Chapel ‘Black Eyes
Emma Tricca ‘Julian’s Wings’
Daniel Romano ‘All The Reaching Trims’
The Human Beinz ‘Nobody But Me’
Julie Felix ‘Snakeskin’
The Kinks ‘Last Of The Steam Powered trains’ (Live at The Julie Felix Show, Jan 7 1969)
Steve Mason ‘Stars Around My Heart’
Joel Sarakula ‘Baltic Jam’
Fickle Pickle ‘Let Me Be The One’
Here’s some heavy Italian psychedelic doom intro stuff to sit in with the weather. Vinyl release, this Friday. (November 16th)
The first ever vinyl release of the band’s instrumental debut from 2007 after the last two critically acclaimed studio albums: Terra 42 (2014) and Paradox Hourglass (2017).
The album was recorded live during two concerts when the band’s name was still Loosin’O’Frequencies (formed in 1996, produced by the Guru of Doom Paul Chain) and marked as the official change of the band to “instrumentals”. During 2008 the album started to circulate in the underground with enthusiastic reviews from small blogs to site as Roadburn, Aural Innovation, Bad Acid, The Sludgelord and also magazines as Decibel Magazine.
Jon, Thomas and Paul return to Soho Radio for another corking show based on the latest issue
WCPAEB intro into The Last Heard ‘East Side Sound’ (Instrumental)
Greenslade ‘What Are You Doin To Me’’
TOY ‘Sequence One’
Schizo Fun Addict ‘Voltage Alert’
The Free Design ‘Mccarren Airport’
Stephen Steinbrink ‘You Could Always Leave’
Paint ‘Moldy Man’
The Peawees ‘A Reason Why’
More Kicks ‘ What A Mess You Make’
The Ar-Kaics ‘ Sick & Tired’
The Green Pajamas ‘Walking In The Rain’
Pat Thomas ‘Reflection Chamber’
Episode Six ‘Morning Dew’
Trane ‘Mansion Of Cards’
Jethro Tull ‘ Sunshine Day’
Uncle Acid & The Deadbeats ‘Stranger Tonight’
Ty Segall ‘St Stephen’
The Move ‘Message From The Country’
Bev Bevan ‘Let There Be Drums’
Gloria ‘Dancehall No. 3’
The Soundcarriers ‘Waves’
The Ace Of Cups ‘Medley (The Hermit / The Flame Still Burns / Gold and Green / Living in the Country)
David Crosby ‘What Are Their Names’
David Crosby ‘The Wall Song’
Matthews Southern Comfort ‘Woodstock’
The Bonzo Dog Band ‘Fresh Wound’
ZZ Top ‘Salt Lick’
ZZ Top ‘Just Got Paid’
The Moving Sidewalks ‘Every Night A New Surprise’
MELANIE XULU runs through a fantastic day at the Betsey…
Entering through the doors of The Betsey Trotwood, I was immediately consumed by a sea of double denim, paisley and velvet. Over the sound of happy chattering and clinking glasses, autumnal folk and psych sounds played through the speakers. Artificial autumn leaves and fairylights were draped across side boards and found hanging from chandeliers across the three flours of the characterful Victorian pub, all the more emphasising the Betsey’s rustic charm and folksy quirkiness.
The autumnal all-dayer boasted a mixture of folk, psychedelia, jingle-jangle and country from 3pm-1am, holding host to an impressive line-up of bands and musicians including Italian folkstress Emma Tricca, fresh from her European tour with legendary Pink Floyd founding member Nick Mason, Wolf People bassist Dan Davies, Swedish Grammy nominated alt-country singersongwriter Christian Kjellvander, Welsh multi-instrumentalist Gwenifer Raymond, as well as, San Antonio Kid, Bob Of The Tops, Robert Chaney, The BV’s, and of course, cosmic country quintet, The Hanging Stars.
The DJs carefully maintained the blissful autumnal mood throughout the fayre, spinning seasonal folk, psych and country songs by the bar of the Betsey, including Shindig!’s own Jon ‘Mojo’ Mills who set the tone of the evening perfectly.
Stand out act of the evening had to be Gwenifer Raymond, the Welsh musician brought the American South to Clerkenwell, playing a tempestuous set of instrumental tracks alternating between guitar and banjo, from ‘Sometimes There’s Blood’ and ‘Requiem For John Fahey’ to the manic “Bleeding Finger Blues”, all of which can be found on her outstanding debut album, ‘You Never Were Much Of A Dancer’. Raymond, an accomplished adapter of the distinctive American primitive guitar style developed by Fahey, left the crowd in a stunned silence.
Co-hosts, The Hanging Stars, who started the day off with an acoustic set, finished the fayre off with a set in the basement. Betsey’s Autumn Fayre was an international coming together of fans of cosmic country, acid folk, and psychedelia. I can only hope the seasons roll around quickly and the autumn fayre returns once again next year.
Cool short film about those fab ole library music sounds and the people that made them. Album due, November 9th, on Anthology.
In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. Though at the time, the use of such records was mostly a cost-cutting maneuver for productions that couldn’t afford to hire their own composer, the industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary. In fact, many of these anonymous or pseudonymous scores-on-demand were crafted by the some of the greatest musical minds of the late 20th century—expert musicians and innovative composers who reveled in the freedoms offered, paradoxically, by this most corporate of fields.
Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce.
The perfect companion to the David Hollander curated book Unusual Sounds: The Hidden History of Library Music (out now on Anthology Editions), these 20 tracks encapsulate the niche and fascinating subculture of library music. Genres were spliced, conventions dispensed with, and often times hybrid music of astonishing complexity was produced. Elements of rock, jazz, soul, even twentieth-century avant-garde composition were all utilized, and no stone was left unturned. As a result, some of the best library music defies all categorization, reflecting the individualistic quirks and artistry of the various musicians who made it.
Today, library music turns up in cartoons, video games, and is sampled by the likes of Jay-Z, DANGER DOOM and Gnarls Barkley It scores the work of Quentin Tarantino and Wes Anderson and turns up on a wide range of TV shows and film such as Scream Queens, Dancing With The Stars, Parks & Recreation, August: Osage County, SpongeBob Squarepants, Curb Your Enthusiasm and more than a couple of adult films.
This compilation includes compositions by Brainticket founder Joel Vandroogenbroeck, KPM Allstars John Cameron and Keith Mansfield, Montenegrin-born composer Janko Nilović, and the Italian film composer Stefano Torossi amongst others.
A publication put together with genuine understanding, sincerity and utter belief. We seek to end mediocrity in music magazines… to bring the scope and knowledge of old fanzines and specialist rock titles to a larger readership: quality journalism, columns, music and film history; exciting new bands and culture. From the most far-out ’60s sounds through country-rock and folk to soul and electronic experimentation. It’s all there.
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